You may remember that last year, my friend and colleague, Jen and I, worked together to produce a pair of designs, which we published as Cross-Country Knitting Volume 1. Volume 1 focused on blokes’ knits, and for Volume 2 we challenged each other to re-design and re-size one of our favourite patterns for kids. I designed Wee Bluebells – a cardiganised version of one of my favourite adult sweaters from my Yokes book, featuring pretty colourwork motifs around the hem and neckline.
. . . and Jen designed Wee Bruton, an unbelievably cute miniaturisation of her Bruton Hoody.
Our aim was to create a pair of really classic patterns – the kind of children’s garments that we could imagine our grandmas knitting for us when we ourselves were small, and which we could imagine ourselves knitting for the wee ones in our lives for years to come.
Together, the designs have an undeniably nostalgic feel, but they are also eminently knittable and wearable.
Wee Bluebells is knit up in 5 shades of Jamieson and Smith 2 ply jumper weight. A quick and simple knit, it is worked completely in the round and then steeked up the middle to create the front opening.
If you have never worked a steek before, this (being small) would be a great project to try out the technique – which really is surprisingly straightforward. (You can read more about steeks by following the links from this page)
Wee Bruton uses Excelana 4 ply, is worked back and forth, features a pair of sturdy pockets, some nifty hood shaping, and fastens neatly with a zip.
Together, these are two easy-to wear cardis that are ideal for romping about in!
Sofia you have met before from the Wowligan photographs, and Toby is Fergus’s son.
We really wanted to show these garments being worn outdoors, by kids in a “natural” rather than a studio environment. It is notoriously difficult to photograph knitwear on little kids and Fergus has done a completely amazing job. Thankyou Fergus! And thankyou Toby and Sofia! We absolutely love these photographs!
In each Cross-Country Knitting booklet, we like to invite someone to write a short essay that speaks to that volume’s theme. For Volume 2, our friend Rachel Atkinson has written a lovely piece exploring the significance of childhood handknits. Jen and Rachel and I all appear in the essay, in knitwear made for us by the women of our family.
Both patterns come in 7 sizes, covering ages 1 to 12. Designing, and thinking about designing, these garments has been such a lovely project for Jen and I, particularly as we revisited our memories of our own childhood knits. We hope you enjoy knitting these patterns, and that they become the source of knitterly memories of your own!
Cross-Country Knitting, Volume 2, is available digitally via Ravelry, or in print via MagCloud.
You can also see more detail of the project, and each pattern, over on the Cross-Country Knitting website.
Hooray! Hooray! Wowligan is here today!
Apparently owl cardigans are much easier to dress a wee one in than owl jumpers and I’ve been asked about the possibility of such a pattern many times. . . one can never have too many owls, so I decided to make it. The Wowligan is basically a mini Owligan, knit up in a sport-weight yarn and carefully resized to baby and kid proportions.
Like the Owligan, Wowligan uses an all-in-one piece circular yoke construction and is knit from the bottom-up. The pattern includes a choice of charted or written instructions for working the cables, and comes with the option of knitting the sleeves flat, or in the round. It is a great pattern for any beginner knitter.
The pattern comes in 8 sizes, from 17 ins to 25 ins, and uses Debbie Bliss Baby Cashmerino, which is a great yarn for kids garments. In the pattern you’ll also find a schematic and a very detailed sizing table, together with instructions for selecting and knitting the right size.
This sweet and cheery wee soul is Sofia, who is wearing her Wowligan in the fourth size. She was photographed by the very talented Fergus Ford. I’ve recently been working with Ferg on another exciting and, ahem, exceptionally cute project – which I should be able to tell you about next week.
Maybe it is the time of year or something – everything in the landscape seems so scoured out and colourless – but I find myself on a massive orange kick. And what better orange could there possibly be than this?
The yarn is Bulky lopi in shade 1418 – “carrot tweed”. Such a rich, deep firey shade! So carroty, so very, very . . . orange! The Icelandic wool so thick, so warm! The tweedy neps so nubbly and so pleasing! I just had to knit myself another Owligan.
I knit this Owligan a little shorter – around 14 inches to the underarm. Making the first size, I used just under seven skeins of yarn. Because of the tweedy nature of the lopi, the finished garment has a rather rustic feel – which is quite different to my other versions of this cardigan.
My orange Owligan is the ultimate antitdote to a grey February day and I absolutely love it.
It is Ravelled here.
One of the most frequent requests I receive by email is to help knitters ‘translate’ my owls pullover design into a cardigan.
This is not as straightforward as it sounds. The owls pullover was designed to be a tightly-fitting garment, with negative ease and back shaping (which would sit rather oddly as a cardigan). The pullover is worked in the round (while a cardigan is generally worked back and forth) and this has implications for the way the owl cables are charted and rendered. Additionally, the owl cables are not centred around a front opening (as they would need to be to accommodate the button bands).
So I have designed the Owligan.
This is a very straightforward pattern, knit up in super-bulky yarn at 2.5 sts to the inch. The pattern is ideal for a beginner knitter, and comes with a number of different options to accommodate different skills and requirements. The sleeves can be knit flat, or in the round; the owl cables can be worked from a chart or from written instructions; and the body can be worked to two different lengths. The short length is shown above (worked in New Lanark Chunky with the yarn held double) and the longer length is shown below (worked in TOFT Ulysses chunky, which really is a super super bulky yarn!).
Unlike the owls pullover, the Owligan is designed to be worn with quite a bit of positive ease. I’m wearing both the long and short versions of the garment with 6 ins positive ease in these photographs. The pattern is graded in seven sizes, to fit bust measurements of 30 to 55 ins.
The two yarns I’ve used for these samples are very different. TOFT Ulysses chunky is a smooth, worsted spun yarn which is soft both to knit and wear. It is a beautiful, special and very luxurious yarn – and its price reflects this. New Lanark chunky is a woollen spun yarn with a much more rustic feel. While it is certainly not as soft to knit as the TOFT, the yarn relaxes, expands and blooms considerably after washing (so be sure to always wash your swatch!). Its a great everyday yarn that’s very reasonably priced, and knits up into a wonderfully woolly and robust garment.
If you have previously purchased the owls or owlet patterns, the Owligan pattern can be yours for half price. Simply put the Owligan in your Ravelry basket, then enter the code OWL50% (for owls pattern) or OWLET50% (for owlet pattern) and the discount will be applied when you checkout. (Note: if you received either pattern as a gift or freebie, I’m afraid there is no discount as there’s no previous purchase). But if you have previously purchased one of the aforementioned patterns, however long ago that was, the discount will be applied, and the Owligan will be half price.
The Owligan is not only a super-speedy knit, but is also wonderfully wearable – particularly in the current weather! Mel and I have become a little obsessed with knitting Owligan samples – so you might see another couple, worked up in different yarns, popping up here over the next few weeks. . .
Thanks so much for your comments on the previous post, which mean an awful lot to me. I’ve a wee bit more to say about my recovery, and will do so in the next post.
Skein Queen has also been very busy preparing yarn bundles for these mittens. The yarn – Voluptuous Skinny – is a lovely plump, woolly 4 ply. It is spun up by John Arbon, and composed of 80% Exmoor Blue and 20% organic merino. The yarn is just ideal for a pair of colourwork mittens – the stranding creates a fabric that’s dense and warm, soft and springy. The pattern includes instructions for two sizes of mitten, small and large, and each Skein Queen yarn bundle will include more than enough yarn to knit the largest size.
I’ve also put together a time-limited promotion for those who want to make Jazz Hands to match their Epistropheids. If you purchase both patterns on Ravelry, using the code HEIDANDHANDS you will receive 40% off your total – that’s both patterns for £3.95. Please be sure to add both patterns to your Ravelry cart (using the ‘add to cart’ option) before entering the code or the system won’t apply the discount. Previous Epistropheid purchases should also count toward the promotion – if you encounter any problems please do let me know.
I’ve been enjoying the snowy weather and have been wearing my Jazz Hands pretty constantly since the cold snap started – my hands have been toasty warm!
Well, I’ve showed you all the designs in the collection, and it is now time for me to enter logistics world. This is a world of franking machines, books, and cardboard boxes and though it is, in its own way, interesting and absorbing, it does not make for particularly fascinating reading. So things may go rather quiet here for a couple of weeks while I am packing and shipping your orders.
I confess that right now I am feeling rather humbled by your support of, and interest in, this book. A massive THANKS to all of you.
If you would like to learn more about Yokes, the book now has its own information page here. For those of you who are interested in the essays and conversations, you’ll find some detail here about the book’s contents. There’s also a link for easy download of your digital copy (just enter the code when your book arrives); links back to information about each design, and a checklist of the design elements and techniques that each pattern involves (which may be useful when considering what to knit).
Thankyou so much, and see you on the other side xxx
Yes, you did read that correctly — Cockatoo Brae. This remarkable phrase is, in fact, the name of a lane in Lerwick, Shetland, and it is also the name of the final yoke in my collection.
This design emerged from an exciting collaboration with my friend Ella. In Shetland, machine and hand knitting go very much, as it were, hand in hand. In fact, at certain crucial points in its twentieth-century story, machine knitting might be said to have saved the Shetland hand-knitting industry from extinction. The two crafts (and they are both crafts) are importantly imbricated, and perhaps especially so where the yoke sweater is concerned.
Hybrid yokes – where the body and sleeves are knitted by machine, and the yoke subsequently knitted on by hand – were one of the mainstays of the Shetland wool industry from the 1950s through the 1970s. I devote a chapter to this topic in my book, and you can read more about it there, but suffice it to say that, after my research I felt it was very important to include one such hybrid yoke design in my book. Cockatoo Brae is that yoke.
On one of my recent visits to Shetland, I was very keen to learn more about machine knitting from Ella, who runs her own business centred around the wonderful machine-knitted items that she designs and makes.
Ella’s Crofthoouse Cushions
At her studio in Cockatoo Brae, Ella introduced me to the process of creating machine-knitted fabric. Like many committed hand-knitters, I suppose I had certain lingering assumptions about what machine knitting involved (knitting by machine? surely this is the devil’s work?!) but these were quickly exploded. I discovered that the process was not only extremely skilled, but also – in the simple act of making stitches – much, much more like hand-knitting than I’d imagined. It is also quite physically demanding!
When I returned home after my visit I began designing a chart using an interesting variant of the ubiquitous tree and star motifs that appear on countless Shetland yokes. It is no coincidence that the shades I chose echoed those of the swatch we had created in Cockatoo Brae. Much of the inspiration for Ella’s design work comes from the 1970s: a decade during which Shetland knitters were producing thousands of yokes for a buoyant commercial market, but when the advent of North Sea Oil also changed the face of the Shetland knitting industry. The 1970s are an interesting moment of transition in Shetland, and Ella’s work interrogates and reflects this. I wanted the palette of our yoke to reflect it too.
The bright green is Jamieson and Smith shade FC11 and the orange shade is 125. (This rich tomato-soup shade is one of my all-time favourite Jamieson and Smith colours – I absolutely love it!). For the main body of the sweater I chose FC58 – a wonderfully complex heathered brown that in fact has more individual colours blended in it than any other shade in the Jamieson and Smith palette. After Ella and I had settled on the chart and palette, I provided her with a pattern and she got to work creating the sweater’s machined components. (Ella will write in more detail about the process of knitting the body and sleeves on her machine, and you’ll be able to read about the process on her blog)
Some time later, I received this bundle in the post
As machine-knit yarn is oiled, I decided to block the separate pieces quite vigorously first so I could see that the hand-knit and the machine-knit fabric were behaving the same way, and that I could be sure that my gauge would match up. After blocking the pieces, I seamed them up with matress stitch. Ella had left small sections of ‘waste’ knitting at the tops of the sleeve and body pieces that could be unravelled to create a set of live stitches. So I unravelled the waste, set sleeves and body on a circular needle, and cast on a nine stitch steek over the cardigan’s front opening to enable me to knit the yoke on in the round.
Here’s the yoke in progress.
Here it is blocking
Creating this yoke with Ella was a fascinating and really enjoyable process for me, and I felt I understood much more about the textile practices and history I’d been researching through the simple act of knitting this garment. Sometimes making really is learning.
If you’d like to create your own Cockatoo Brae in exactly the same way we did, I’ve included instructions for flat machine-knitting body and sleeves in the book. But don’t worry –if you’d prefer to hand-knit the design in its entirety – working the whole garment in the round and then steeking it open afterwards – those instructions are also included.
We shot these photographs on a lovely autumn day around the lower slopes of Ben Lawers and Meal nan Tarmachan, where Tom was running a hill race. Tom ran very well, and I think the photographs he took after the race show the garment perfectly suited to its setting.
I’d like to give a big shout-out to Tom today, who has really shared my Yoke vision, and whose considerable skills as a photographer are in evidence throughout. His images – which beautifully illustrate each garment in a separate, distinctive location suited to its style – are an essential element of the larger creative process behind this book. Thanks, Tom x.